Seasoned indie-pop from Schwartz

At 20, singer-songwriter Lucy Schwartz already has a fair amount of experience in the pop-music business, with two recordings and a bunch of songs featured in movies to her credit.

Creating music with a folk-indie influence along the lines of Regina Spektor, Feist and Fiona Apple, she seems to be taking her success in stride.

For example, she’s on a bill with the Weepies at the Great American Music Hall this weekend, part of a series of gigs that materialized after Internet encounters a while ago with the duo.

“I recorded nine songs, put them up on Myspace, was a fan of the Weepies and friended them,” says Schwartz, on the phone from her Southern California home. “They listened and liked them. I was so excited. Now it’s four years later and I’m opening for them.”

As a child, Schwartz knew she would do something creative as a career, but envisioned herself as more of an actress, painter or dancer than musician.

Her first performance was at age 7 as the Cowardly Lion, and she played numerous musical theater roles in high school.

But an upright piano in her house sparked her interest in playing music, and despite some frustration with lessons at first, she unleashed her songwriting creativity with encouragement from her teacher, Kia Colton.

With her biggest influences being “groups of four British men” — The Beatles and Coldplay — she began her professional career via a connection her dad, TV composer David Schwartz, made with the music director of the movie “The Women,” who needed tunes for the film.

“I think they were shocked it came from a high school girl,” Schwartz says of the tune “Count on Me,” which ended up in the closing credits.

She even met Mick Jagger, one of the movie’s producers, at the film’s premiere — although she was embarrassed when she approached him in a hyperfriendly manner and he didn’t know who she was.

She enjoys collaborations, especially a duet with Aqualung, “Seven Hours” — a bonus track on her new album, “Life in Letters” — and was thrilled to work with Sonya Tayeh of “So You Think You Can Dance,” who did the choreography on her video for “Graveyard.”

With a content yet excited tone, she says of the current state of her career: “You can collaborate in so many ways. Who wouldn’t want to work with people they admire?”